EWR4–David A Jaycock – The Improvised Killing of Uncle Faustus and Other Mythologies – Reviews
Losing Today Magazine
the scales at just over 33 minutes in length, the debut solo mini album from
Big Eyes Family Players’ David A Jaycock is a beautifully
woven quilt comprising of 14 miniature segments of sparsely hued dustily
archaic acoustic motifs from a time long since past.
‘The Improvised Killing of Uncle Faustus and other Mythologies’ makes for an interloping parched parade of warming pastoral elegance (just check out the cascading warmth of the John Williams-esque ‘Tremelo Party’ or the creepy carnival-esque ’56-57’) and eerily bespoken rustics, autumnal in design this collection of bleakly beautiful rambles touches distant though familiar boundaries. Like the revisiting of a long since unoccupied former childhood home the memories bound forever in the buildings very innate essence are relayed over and over again by the groans and sighs it gives up So to with Jaycock the melodies on occasion creak, whisper and softly echo with the dearly departed spirit of Fahey (especially on the achingly ghostly ‘Hood Faire’ with its understated Budd-esque macabre pining) and the occasional visitation of Drake (as on the cantering warmth of the picturesque ‘Reeleel‘).
Jaycock’s sparse almost invisible technique forces you to pull up closer - soon you are beguiled, enchanted and breathless at the haunting romance unfolding within, as slender as they may be these salutary timeless melodies evoke colour and atmosphere to the proceedings without the need for words or a script. Jaycock casts his net of influence wide at times your left dizzy by the array of references that are subtly interwoven into the collections matrix - sometimes you feel as though you’ve stumbled upon some hitherto pool of unreleased incidental suites that had initially been commissioned to adorn Morricone’s ‘Once upon a time in the west’ soundtrack as on the noire-ish Big Eyes like ‘Ruben’. Elsewhere elements of the ethereal sea shanty grace more becoming of early Black Heart Procession recordings come to pass on the opening ambit ’A Cocktail Party’ while the storm looming death rattle Mexicana motifs of the elegiac though visibly portending ’Es Cortina Para Usted’ with its crafted - as were - mid phase seasonal change courts with a notion of a collaboration between godspeed and Sackville with the spectacle overseen by Mancini.
All these gems comes packaged in the by now trademark handmade lino printed sleeves and are scarcely limited to just 250 copies - so what are you waiting for - go - buy - cherish.
Here's a rather
special sounding CD from DAVID A JAYCOCK on Early Winter Recordings.
This is a guy from Big Eyes making some really beautiful sounding music.
Man and acoustic guitar as one making some gorgeous folk meanderings. Fingerplucking ahoy this is gonna
appeal to fans of James Blackshaw, John Fahey,
Byron Coley – Harp Magazine (US)
Fourteen short tracks by this Big Eyes member, cloaked in a variety of rainments, most of which feature his delicate acoustic guitar work. Jaycock seems less dedicated to the “high technique” approach of Jack Rose, Ben Chasny et al, than he is interested in creating small, pretty landscapes to inhabit. There are many strange moments scattered across this largely-instrumental disk as well, but they are all very genteel in nature and none the worse for it.
For me, one of last year’s most entrancing and playagainable debuts was James William Hindle’s ‘Joshong’ on the Early Winter imprint (www.earlywinterrecordings.co.uk). The next entrant on this Sheffield-based label is most certainly of equal worth. ‘The Improvised Killing of Uncle Faustus and Other Mythologies’ CDR by David A. Jaycock (a member of Big Eyes on Pickled Egg Records and of avant-psychsters Bingo Jesus) is a 14-strong, self-penned collection where in the main, folk-based and acoustic driven melodies are offset in ways mysterious by creepy background tendrils and ghostly Moog spectres, all under the watchful gaze of a newly painted and ever smiling Mr. Punch. The funereal ‘Ruben’ and the strangely light-headed feel of ‘George’s Square Kite’ can’t fail to evoke images of dust motes in Edwardian drawing rooms, faded brown copperplate and solitary angels guarding overgrown and neglected mausoleums.